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Oh see, Jerry is better because he stalls on his plot forever while giving absolutely zero world building or anything else of substance.
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People who actually flesh out the world of their story and develop a rich tapestry on which their narrative takes place aren't
real writers like Jerry is. Worldbuilding is SO easy you guys, you just introduce contrived plot points to tickle your personal fancy and never, ever define how they work. Just remember, with his Pokemon comic we're getting the real story. The real, repetitive, dull as dirt story.
Ah-hah-hah. Hey, Lily?
Go fuck yourself.
Good worldbuilding isn't easy. Just because your method is to steal an already extant universe and then throw in contrived bullshit as your plot demands doesn't mean authors that actually build their universes are doing it because 'it's easy'. It's because they're engaged with what they're doing and possibly getting lost in it. It's because they thought up all these different systems and want the audience to know what kind of work they've done.
Thing is, when you're actually doing worldbuilding, it
is pretty easy to get carried away. Especially when you're making a whole new universe and you feel a need to have everything laid out before you start. That
is something that people can get caught up on, not because writing a story is hard (generally speaking, they made the world to facilitate a story they wanted to tell) but because they feel a need to establish the entire history of the universe, and then tell the audience, so they're all on the same page. But to do that you need to create your pantheon of gods, right? And then the creation myths. And then how humans were formed, and maybe the other races. And then the foundation of your central kingdom, and probably between five to eight additional countries populated by the fantasy races, and then--
--well, even if you wind up narrowing a lot of things down, now you're also stuck with how to present this vast, rich tapestry you've woven to your audience, and how much do you disseminate immediately? How much do they need to know to understand the foundation of the story you want to tell? It's a fallen kingdom so we need to explain the fall of the kingdom, oh and the magic system is really important so we have to make sure the audience understands that, but to do that we need to go into the cosmology of--
This doesn't mean the person is a bad writer. It means writing well is hard.
Naturally, of course, Lily just uses it as an excuse to put down something that doesn't interest her instead of just being able to say 'it doesn't interest me'. It's not an aspect of a genre that she just doesn't enjoy, it's objectively bad. And if you like worldbuilding and creating these fantasy worlds or adventures, then you actually need to write for a different genre (like, say, lesbian romance) because obviously you aren't... enjoying that thing you're... enjoying doing.
Look just write more romance and don't try to do anything special with it, that's not the most absurdly oversaturated genre on the fucking planet.
Also, worldbuilding is
not synonymous with exposition dump. Worldbuilding is when you enrich the environment, and while in a fantasy setting it might involve going off on a tangent to explain a concept that doesn't exist in the real world, good worldbuilding is usually done organically. It's different from an exposition dump, where an author is so proud of the physics they've constructed or the environments they've thought up or enamored with a particular bit of dialogue they're writing that they bring the narrative to a screeching halt to tell you all about it. This doesn't mean worldbuilding (or whatever else derailed the narrative) is bad, it means the author needed an editor to help rein them in. The ideas themselves might be legitimately fascinating (there's a reason Wikis and things like Pottermore exist), but when they shouldn't bog down the story.
I'm a resident SUfag and I'm well aware the show can be a bit of a mess plot and worldbuilding wise, but it also kind of runs on dream-like musical logic and is more about the emotions than the hard worldbuilding. You can ask why gem ships and their homeworld have breathable air and Earth-like gravity despite canonically gems requiring neither of those things but the show does not care and won't even address it because that's not the point.
Yeah, this is fair, too. If you need to have something really grounded in reality, you have to have that worldbuilding foundation laid out. But that's not necessarily your intention, and as long as you've cultivated a sense of verisimilitude and the willing suspension of disbelief -- enough to ground your work as it needs to be grounded -- then you've properly done your job.
For a more general example, this is why Harry Potter kind of works-- if you actually look at the Wizarding society it's a nightmare and falls apart with the slightest bit of scrutiny, but the workings of society and magic are incidental to the story except for what we see (that Wizarding society is actually pretty fucked up and unfair). There are
massive issues with it even from the first, most whimsical book, but it's engaging and goofy and when you're willing to meet it on its own terms the story and characters overall work such that you're willing to shrug off the structural issues.
Meanwhile, Lily's works tend to want it both ways-- Lily
wants to indulge in her own lore, but only up to an arbitrary point, after which she gets pissed off at people for being obsessed with lore and suddenly it doesn't matter. She has the lightsaber forms memorized and can spout off about Aliana's ship instantly, but as soon as you ask why Lily is allowed to adopt Bonnie despite the core issue behind her creation meaning she shouldn't be allowed to adopt her, you shut the
fuck up, nobody cares, why are people so obsessed with worldbuilding!?
) The constant lovebombing to someone with abusive and narcissistic tendencies is a recipe for disaster.
